AN ABSTRACT OF THE THESIS OF Jesse Crouch, for the Masters of Technical Direction degree in Theater, presented on April 6, 2010, at Southern Illinois University Carbondale. TITLE: The Technical Direction of Lysistrata MAJOR PROFESSOR: Robert Holcombe The Technical Direction of Lysistrata encompasses the process of managing and organizing the technical production of Lysistrata A Woman's Translation, by Drue Robinson Hagan and directed by Jessica Johnson Frohling. It is also a representation of the organization of staff, personnel and student crews involved in the construction to achieve the vision of the director and scenic designer. Included are the script analysis, statement of personal goals, process and evaluations, technical paperwork and photographs.

No description available.

In 2003, Lysistrata was chosen for the Lysistrata Project, a global theatrical protest against the United States planned invasion of Iraq. This thesis examines Lysistrata in its original context of the Peloponnesian War, then moves on to the Lysistrata Project in the context of American democracy and modern Greece. While Lysistrata was originally used by Aristophanes to express his individual opinion about the precarious situation in Athens in the final years of the Peloponnesian War, the Lysistrata Project allowed a diverse group of individuals to use the play to express their individual opinions about an impending war in an environment where individual political expression was threatened. This thesis considers how the Lysistrata Projects open and inclusive theatrical form allowed the play Lysistrata to be extrapolated beyond its original context as the opinion of one playwright, allowing Lysistrata to have significance in an age of globalization.

No description available.

This thesis presents the evaluation, research, and written documentation of the process in the lighting design of Lysistrata: A Woman's Translation. Chapter One contains two parts. The first is in-depth research specific to the production as well as an analysis of the script. The second part is the Statement of Goals, Methodology and Procedures. Chapter Two presents the design process during the production and the implementation of the design processes. Chapter Three, the final chapter, discusses and examines the responses and includes a self-evaluation of the production. The appendices of this document contain research images, hand renderings and computer renderings, drafting, and production photographs.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / Our thesis aims to analyze the relationship between the divine and the human, political and sexual, as well as the relationships established between these plans and the dramatic text from the comedy skit Lysistrata, written by the Greek poet Aristophanes. It is due to show how textual and discursive elements are crucial for the development of the female characters who are opposed to the male characters, either by speech or symbolic images, since the ideal hero to the public administration of the city. It dialogues to some aspects of comic irony, such as the exaggeration and pun, to demonstrate how these elements work together as a discourse, which is an important characteristic for the composition of the part and which by women take the power of the city. We try to analyze the images related to the weave- spin that exemplifies the relationship between creating / narration, in order to demonstrate the feminine imagery that makes up the work. We used, as a guide for our research, the concepts of hero, arete, identity and imagination to confirm our thinking about the social and political aspects of women in ancient Greece. Among the theoretical underpinning our research are the classic reference works such as Homer and Hesiod , the studies of Vernant (1977, 2001) , Silva (1983, 2007), BrandÃo ( 1985, 1987 ) and POMPEU (1997, 2004). / A presente dissertaÃÃo tem como objetivo analisar as relaÃÃes entre os planos divino e humano, polÃtico e sexual, como tambÃm as relaÃÃes que se estabelecem entre esses planos e o texto dramÃtico, a partir da peÃa cÃmica LisÃstrata, do poeta grego AristÃfanes. Buscaremos mostrar como os elementos textuais e discursivos sÃo preponderantes para a elaboraÃÃo das personagens femininas que se contrapÃem Ãs personagens masculinas, seja atravÃs do discurso ou das imagens simbÃlicas, desde o ideal de herÃi atà a administraÃÃo pÃblica da cidade. Abordaremos dentre alguns aspectos do cÃmico a ironia, o exagero, o trocadilho, buscando demonstrar como esses elementos colaboram como discurso, que constitui importante particularidade para a composiÃÃo da peÃa e com o qual as mulheres tomam o poder da cidade. Analisaremos as imagens relacionadas ao tecer/ fiar que exemplificam a relaÃÃo entre criar/narrar, para procurar comprovar o imaginÃrio feminino que compÃe a obra. Utilizaremos como norteadores de nossa investigaÃÃo os conceitos de herÃi, aretÃ, identidade e imaginÃrio para confirmar nosso pensamento sobre os aspectos social e polÃtico da mulher na GrÃcia antiga. Dentre os teÃricos que sustentam nossa pesquisa estÃo, alÃm das obras de referÃncia clÃssica como Homero e HesÃodo, os estudos de VERNANT (1977, 2001), SILVA (1983, 2007), BRANDÃO (1985, 1987) e POMPEU (1997, 2004).

No description available.

No description available.

An appreciation for the satire inherent in Aristophanes' Greek comedies Lysistrata, Women in Parliament and Women Celebrating the Thesmophoria is integral to understanding its ironic impact on modem day feminist movements. Using political events in the 21 st century, we can see how Aristophanes' mockery of the agency of women outside of the oikos, or the domestic space, has been challenged and defeated. I will support my ideas using the plethora of scholarly research I have consulted during my exploration of the works of Aristophanes. This research includes articles and books from authors such as David Cohen, Martine De Marre, Helene Foley, David Halperin, Froma I. Zeitlin and Gonda Van Steen. Furthermore, I will identify instances in Aristophanes' plays where his ridicule is most evident.